Martin Amis Quotes
When I go back to the core of my childhood, my cousin Lucy seems always to be in the peripheral vision of my memories. She is off to one side, always off to one side, with a book, with a scheme or a project or an enterprise.
Quotes to Explore
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I was making comebacks every single year. That makes it difficult mentally. It causes a lot of stress.
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My view is pensioners don't have the one option that people of working age have. They can't really increase their income, because they are no longer able to work.
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I do no writing while I'm in Belgrade visiting my grandma.
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I'll tell you why I like writing: it's just jumping into a pool. I get myself into a kind of trance. I engage the world, but it's also wonderful to just escape. I try to find the purities out of the confusion. It's pretty old-fashioned, but it's fun.
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It is well known that Beauty does not look with a good grace on the timid advances of Humour.
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Art is subjective. I'm not looking for people's praise.
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My heart is mysteriously alive in the world of sounds - a totally different dimension from the daily life.
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I have no idea what advantages I truly get, but I know people talk to me and give me time of day because they like how I look.
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A lot happens in 20 years.
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My work always presents problems in our society. Those problems may be anything from injustice to freedom, and everything related to humanity.
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Time will tell how you rate against the rest of the competition. I'll let everyone else worry about championships. I'm going to worry about qualifying at Pomona.
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It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement.
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Many of my constituents are in their 80s, 90s, even 100, and our focus is ensuring that their needs can be provided for.
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To keep your job, you fire others or bench them or trade them. You have to do the thinking for 25 guys, and you can't be too close to any of them.
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At the time I was writing the second album, I was sitting home in my underwear all day every day; I didn't have all that much to write about except for my own life and my family.
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Nothing can have value without being an object of utility.
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There are no major cities I haven't been in - at least once. I'd be just as happy not to go out of town for a couple of months and play with toys.
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If parents could just get their children moving around in the most simple and fun ways - jumping in leaves, dancing to pop music, throwing socks in a laundry basket - they could be sowing the seeds of great habits that could last a lifetime. It is all about turning it into a game.
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'Mosaic' is about what we see and what we don't see. I learned how people can develop other senses to compensate for a missing one when I was a child. My best friend, Carol, who is profoundly deaf, saved me from an approaching car that she 'heard' when I didn't.
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In the beginning, I was searching for myself in my music. My music was for me. I didn't have the mental room to be conscious of the listener; I wrote to save myself.
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I would love to do more movies. I'd like to get into some theater, too, if I could, just to learn more. I want to do gritty performances that I'm proud of. It doesn't matter to me if four people see it or millions of people see it, as long as I perform in such a way that people go, 'Wow!'
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My mother was a librarian, and she worked at the Black Resource Center in South Central Los Angeles and would call me to tell me stories that she read about that were interesting to her.
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I have a painter's memory. I can remember things from my childhood which were so powerfully imprinted on me, the whole scene comes back.
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When I go back to the core of my childhood, my cousin Lucy seems always to be in the peripheral vision of my memories. She is off to one side, always off to one side, with a book, with a scheme or a project or an enterprise.
